Hey Everyone, one of my studio friends sent over a review for Blade Runner. He’s a studio plant, but the review is good, and I’m interested in this DVD. I’ll admit, I never got the Blade Runner thing. I’ve tried to watch a couple of times in the past and can’t make it past the first 1/2 hour. I’m going to give it one more try when the new DVD set hits next week. My plant wanted to let you know that he does freelance stuff for Universal and has nothing to do with Warner Brothers. If he keeps up with the good review, I may give him his own byline.
UNDER THE BLADE
BLADE RUNNER – THE FINAL CUT
New Film and DVD Review
By Studio Plant
Even though the original version of BLADE RUNNER was one of my favorite films of the 1980s and one of the most (if not THE most) seminal science fiction films ever made, I have a terrible confession to make: until this week, I had never before seen the movie projected on film in a theater. In a way, that oversight was saved for perhaps the best, ultimate version of BLADE RUNNER that was released this fall in a limited amount of theaters and is being released on DVD this December 18.
Needless to say, THE FINAL CUT version of the film, following the somewhat compromised 1982 US theatrical version, the 1982 international version, and the 1990s director’s cut, is possibly the most pure vision of the film as prescribed by director Ridley Scott. Of course, with its cleaned up negative, the film looks gorgeous – new, in fact – and has a richness in a theatrical setting that cannot be matched on virtually any smaller home systems. Thus, any BLADE RUNNER aficionados have a responsibility to see this version in a theater before properly purchasing their DVD.
Science-fiction fanatics know all about Scott’s marvelous staging of every setup in the film, Jordan Cronenweth’s sumptuous cinematography, Lawrence G. Paull’s amazing sets (based on futurist Syd Mead’s designs), and the unprecedented special photographic effects by Douglas Trumbull, David Dryer, and Richard Yuricich. Of note, no computer-generated imagery was utilized for BLADE RUNNER’s astounding visuals, which, in the early 1980s, were instead achieved with miniatures, motion-control photography, and optical printing.
For THE FINAL CUT, computers were used for specific fixes such as minor enhancements of backgrounds, wire removal on the practical “spinner” cars, and a scene where Joanna Cassidy’s character Zhora is killed. In previous versions, due to time constraints, the scene was executed with an obvious stunt double in a fairly shabby wig. THE FINAL CUT includes new footage of Cassidy against green screen replaced over the stunt double’s head – in the completed scene, the effect is seamless and is much more effective.
Additionally, in THE FINAL CUT’s climactic moments, when Rutger Hauer’s Roy Batty confronts his maker, Eldon Tyrell (Joe Turkel), his new line of “I want more life, father” represents a new twist on a moment that formerly featured an expletive in place of “father.” Again, integrated fluidly, it gives the meeting more power and a relevant subtle meaning. Later, when Batty releases a dove before his death, “the dove now flies into a consistent BLADE RUNNER-esque environment, replacing the original shot,” according to THE FINAL CUT’s associate producer, Paul Prischman.
Other relevant changes among the many that were done include a recutting of Deckard’s “unicorn dream” to match Ridley Scott’s intended vision for that scene and corrected lip-synch issues with Deckard’s conversation with the Egyptian in Animoid Row. These touches and others only contribute to a more full experience of the world of the film and its many nuances – too many in fact to absorb upon one viewing of THE FINAL CUT.
Which brings us to the long-awaited DVD. In addition to the requisite commentaries on Disc One, the real prize is saved for Disc Two, the three-hour-plus documentary DANGEROUS DAYS: MAKING BLADE RUNNER. Here we finally get the much-deserved treatment of the film as the revered classic that is has been for 25 years. Many new interviews abound with all key living cast and crew members. Expertly written and directed by Charles de Lauzirika, with masterful editing by William Hooke, this is a dream doc created by the same team who did the outstanding documentary about the ALIEN quadrilogy four years ago.
In addition to the revealing interviews, de Lauzirika and his group provide us with numerous stills and original footage from BLADE RUNNER’s early 1980s production, including backlot material from New York street at The Burbank Studios (now the Warner Bros. lot), clips from the cast and crew on downtown Los Angeles locations, and pristine dailies from various sets. All of which makes for a truly compelling look into the making of this difficult but essential sci-fi film. What more can you say about a documentary that runs over three hours but still leaves you wanting more?
If BLADE RUNNER was overshadowed by lighter films including E.T. in the summer of 1982, its ultimate legacy is that its styles, designs, makeups, costumes, acting, and direction have influenced an entire generation of moviegoers and filmmakers alike. THE FINAL CUT should be mandatory viewing both in theaters and on DVD for any cineastes who feel similarly.